Monday, September 22, 2014

'David Bowie Is' exhibition documentary screens Sept. 23; Chicago museum run starts

September 23 has been declared “David Bowie Day” in Chicago by the city's mayor, Rahm Emanuel. The proclamation comes in conjunction with the new exhibition opening David Bowie Is at the Museum of Contemporary Art in Chicago (MCA).

The travelling exhibit's lone U.S. stop will be displayed through January 4, 2015. 

Yet not everyone - even the most diehard Bowie fans like myself - can book a trip halfway across the country to visit a museum.

With that in mind, a documentary about the exhibit will screen in a hundred American theaters on Sept. 23 only (see below for the Southern California list).

Shot on the closing night of the Victoria and Albert Museum exhibition in London, the 94-minute documentary was helmed by award winning director Hamish Hamilton. It opens with highly personable curators Victoria Broackes and Geoffrey Marsh laying out what they tried to achieve: "We wanted you to feel like you entered a David Bowie world - an immersive, multi-sensory experience."

Indeed. They take the viewer through the various exhibit sections and explain them like a personally guided tour.

Only you don't have to wear any pesky headphones. You also don't get to be in the presence of the actual items from the Bowie archives, but that's only a minor inconvenience. The visual tour begins with a Bowie baby photo and special sculpture commemorating his 1947 birth.

Playwright Hanif Kureishi, who attended the same art school as Bowie (but at a different time), describes the hardship of living in South London during that period. There are close ups of Bowie's teenage sketches, rare images and video of his study of mime in 1967, sketches for the Space Oddity LP, early handwritten lyrics, etc.

Sixty of Bowie's costumes are displayed. The live event footage includes a brief talk by fashion designer Kansai Yamamoto, who recalls the first time they met and he spoke very little English.

An assistant curator from the V&A Museum describes the Ziggy Stardust outfit and other outlandish stage and television clothing from the 1970s-'90s. Later, censored costumes and videos ("Boys Keep Swinging") are discussed.

Pulp's Jarvis Cocker touches upon Bowie's songwriting and how viewing lyric drafts was an eye-opener because "his handwriting seemed like that of a teenage girl." Esteemed music journalist and author Paul Morley provides welcome insight about Bowie's songcraft.

Throughout the film, London exhibit visitors are interviewed about Bowie's impact on their lives and how the experience has personally affected them.

The newly commissioned animation based on Bowie's proposed musical based on George Orwell's "1984" is amazing. Photographer Terry O'Neil describes the session that led to the infamous Diamond Dogs cover. A graphic designer for latest album The Next Day goes over the thought behind its recycled simplicity.

A fascinating section of the film and exhibit revolves around Bowie's often unorthodox lyric writing method, utilizing Oblique Strategies cards co-created by musician/producer Brian Eno and a cut up method inspired by author William Burroughs.

Other segments are devoted to Bowie's influential Berlin recording period with Eno, Iggy Pop and Tony Visconti; Bowie's film work and a special exhibit featuring movie clips and props (Jim Henson's "Labyrinth"); music videos; Bowie's influence on popular culture and much more.

All told, it's an illuminating film and just might prompt you to book a flight to O'Hare.

To see the film trailer and to book movie theater tickets visit:

For exhibition tickets visit

Southern California Bowie fans can attend the 7:30 p.m. screenings at the following locations:

Vintage Vista Theatre
4473 Sunset Blvd, Los Angeles

Arclight Cinemas
6360 W. Sunset Blvd, Hollywood

Laemmle's Playhouse
673 E Colorado Blvd, Pasadena

Laemmle's NoHo 7
5240 Lankershim Blvd, North Hollywood

Laemmle Royal Theatre
11523 Santa Monica Blvd, West L.A.
Laemmle's Claremont
450 W 2nd St, Claremont

Muvico Thousand Oaks 14
166 W. Hillcrest Drive, Thousand Oaks

Make the Music Go Bang! Festival review: Santa Ana, Calif.

Dave Alvin
See the shorter version of my review at All photos by Anibal Ortiz, courtesy of The Orange County Register, unless indicated.

A family reunion atmosphere infused the first Make the Music Go Bang! Festival on Saturday. 

Many of the 35 acts on three stages had previously played live or collaborated together in the studio.

Dave Alvin acknowledged that fact while performing with his brother Phil: “I’ve seen just about everyone I’ve ever known backstage today."

The 12-plus hour event – named after an X song – was held at the Observatory and grounds in Santa Ana and drew plenty of people (parents with young kids among them).

With Irvine’s long-running Hootenanny shindig on hiatus, Bang! deftly made up for the absence with a hearty punk, rockabilly, Americana and roots rock music lineup. Wanda Jackson dropped out due to health issues. Fellow rockabilly septuagenarian Ray Campi served as the last minute replacement.

Surprisingly, Hawleywood’s Barbers and Qigong Chinese Massage serviced customers right alongside the retro clothing, art and music booths (a vinyl record vendor arrived from Scotland). A couple food trucks did brisk business. So did the craft beer areas.

“Hope you’re digging the new sound we’ve got here, said singer/bassist John Doe, during X’s rare stripped down headlining set outdoors. It featured vibraphone, bongos, acoustic guitar and sax on selected songs.

Exene of X, The Knitters
While intriguing, the band’s revised format didn’t keep the seated VIP section filled like others did a few hours before. Exene struggled a bit, but her raspier-than-usual voice still meshed adequately with Doe’s amid rollicking opener “The Hungry Wolf” and “White Girl.”

Guitarist Billy Zoom, using a stool, worked his shimmering magic on highlight “Poor Girl” and the gorgeous “Dancing with Tears in My Eyes.” Some sound glitches meant “True Love” had to be stopped and restarted. DJ Bonebrake played the vibes and Zoom honked on a sax for the haunting “I Must Not Think Bad Thoughts.”

Before X’s hard-hitting alternative rock radio staple “Los Angeles,” Doe marveled how “this still gets played on KROQ [106.7 FM], even with the bad words. Pretty weird.” Later, a politically-tinged “The New World” found him noting the lyrics “still remain true today like in 1983. It’s the sad state of our government. They can’t do shit."

The Knitters photo by George A. Paul
Earlier in the afternoon, several ladies held parasols to shade themselves. Three-fourths of X appeared on the main outdoor stage in their countrified side project The Knitters.

With guitarist Dave Alvin and a standup bassist, they performed feisty songs from 1985’s Poor Little Critter on the Road and ’05 follow up, Modern Sounds of the Knitters.

A rip-roaring version of X’s “In This House That I Call Home” and a twangier “The New World” (appended with melodic snippet of “Battle Hymn of the Republic” by Alvin) got the expected wild audience responses. The mournful “Rank Stranger” was a standout. “Walking Cane” saw Exene do a mini dance as Alvin played amazing guitar bursts and the tempo alternated.

Legendary English punk stalwarts Buzzcocks stormed through 18 tunes in 55 minutes. Launching with the clarion call shards of “Boredom,” original singer-guitarist Pete Shelley seemed to take that title to heart.

Halfway through the set, he mentioned that this was the final date of the current tour and said, “we’ll have more fun when it’s over.” I overheard two old punks in the crowd criticize Shelley’s appearance; one thought he looked like actor Richard Dreyfuss.

Buzzcocks’ appropriately ragged sound prompted a slam pit, crowd surfing and even a startling stage dive. The evening set included late 1970s U.K. hits “Promises,” “Love You More,” “What Do I Get” and “Ever Fallen in Love,” not to mention fan favorites like “Fast Cars” and “Autonomy.”

The band briefly dipped into their 2000s catalog for the throttling “Sick City Sometimes,” but surprisingly didn’t include anything from The Way, their first album in eight years due in November. Shelley and co-founding singer-guitarist Steve Diggle alternated lead vocals. The latter musician was totally animated throughout, slashing at his instrument and egging the audience on. 

Avengers, another pioneering punk group from the same era, drew a large crowd (and mini slam pit) to the indoor Observatory stage.

The Bay Area quartet didn’t disappoint with an incendiary performance mostly drawn from the self-titled “Red” LP. 

Penelope Houston recalled opening for X back in the day at California venues like the Whisky and Mabuhay Gardens as X’s Exene looked on from the side of the stage. 

Her defiant delivery and guitarist Greg Ingraham’s razor sharp riffage made “We Are the One,” “Corpus Christi,” “Teenage Rebel” (an ode to individualism) and “Open Your Eyes” fiery as ever.

Bassist-backing vocalist Joel Reader was a real live wire, pogoing around and standing on Luis Illades’ drum riser at times. “Second to None” - with its memorable chant along chorus and Houston’s fake baby crying as well as the explosive “White Nigger” (about dead end jobs) were standouts.

[Side note: For another side of the singer, I’d recommend her 2012 solo album On Market Street. The beguiling collection should be all over AAA radio. It delves into dark baroque folk/rock in fine fashion, with occasional orchestral shadings. Suzanne Vega and Marianne Faithfull are touchstones. Top tracks: “Missouri Lounge,” “You Reel Me In,” “USSA,” “Winter Coats.” Buy the album, Avengers titles and more here:]

Los Lobos brought some solid multiculturalism to the evening, including a tempered “Will the Wolf Survive,” dance-inducing rave up “Don’t Worry Baby” and beer hoisting Spanish sing-along “Volver Volver,” in which fans briefly waved a Mexican flag. They cheered loudly for the accordion-laden “Kiko and the Lavender Moon” and whimsical “I Got Loaded,” plus several songs sung in Spanish.

Dave Alvin was the festival’s shining star, hands down. During dual appearances here with the Knitters and another backed by the Guilty Ones, his electric guitar work consistently dazzled.

Half The Alvins' wonderful set revolved around Common Ground, their current blues tribute to Big Bill Broonzy and first album together in nearly 30 years.

The Alvin Brothers
Phil Alvin’s sweet vocals and harmonica work livened up the set, notably Broonzy’s “Key to the Highway” and “Southern Flood Blues.”

Prior to the humorous slinky blues of “What’s Up With Your Brother” (off Dave’s 2011 solo effort Eleven Eleven, where the two rekindled their musical partnership), Dave reminisced about growing up in Downey and finding a copy of James Brown’s “Please Please Please” on vinyl for cheap at a hometown swap meet.

Then they proceeded to do a soulful cover of it and treated diehard fans to spirited Blasters number “Marie Marie.” Following some band solo spotlights, an instrumental bit of “So Long Baby Goodbye” served as the closer.

Inside the Constellation Room, LA’s Robert Francis & the Night Tide made an indelible mark with rousing Americana sounds from their exceptional new album Heaven. Opener “Ukiah” was appealing; “Love is a Chemical,” completely enthralling a la early Pete Yorn. Another standout moment was Francis’  passionate delivery during “Eighteen,” off his 2012 album Strangers in the First Place. Definitely an underrated gem.

Clad in a patterned dress and sporting glasses with her hair tied up, Victoria Williams looked like a friendly kindergarten teacher on the Observatory stage. Afflicted with MS, she launched the Fullerton-based nonprofit Sweet Relief organization, which provides medical care and more for musicians in need, two decades ago.

She attracted a decent crowd while playing low key folk tunes on guitar and harmonica with her band. Unfortunately, half the audience split (likely to catch The Knitters) prior to best known tune, “Crazy Mary.” 

Junior Brown
Junior Brown possessed the lowest vocal register I heard at the entire festival.

Playing his famous double neck electric/lap steel guitar hybrid instrument on the outdoor stage, amusing neo-traditionalist country and surf songs like “My Wife Thinks You’re Dead” (a top 75 country charter and CMA winner in 1995), “Highway Patrol” and “Broke Down South of Dallas” went over well amid the afternoon sun.

Right as Brown displayed fast-fingered dexterity on “Long Walk Back to San Antone,” one concertgoer said, “now this guy’s the real deal!” Best of all was the more recent “Hang Up and Drive,” about people yacking on cell phones in their cars. 

Back inside on the Observatory stage, Hula Girls played for a bunch of people who just seemed to want to drink without baking in the sun. True to their name, the male band’s pleasant surf rock set featured two hula girls and went down easy.

Meanwhile, Shattered Faith, an old school punk band from Huntington Beach, tore things up in the packed, sweaty Constellation Room. 

The Paladins laid out some smokin’ blues and lively roots rock on the outdoor stage. The San Diego trio, initially together from the mid-‘80s to 2005, reunited in 2011.

Leader Dave Gonzalez tore off some hot guitar licks that often recalled Stevie Ray Vaughn and sumptuous grooves during “Lookin’ for a Girl Like You,” “Lil’ Irene,” “Right Track” (sung by bassist Thomas Yearsley) and “15 Days Under the Hood.” Gonzalez even added a guitar line from Bill Haley and the Comets’ “Rock Around the Clock.” 

James Intveld photo by George A. Paul
James Intveld, a singer, guitarist, actor who cut his musical teeth in LA’s Eighties cowpunk scene, played to initial arrivals as gates opened about 12:15 p.m.

“Welcome to Breakfast with James Intveld – or hair of the dog. We’ll be serving Bloody Marys later,” he joked. With a reverb-laden sound slightly reminiscent of Chris Isaak, Intveld’s brand of rockabilly and country music fared best on the lonesome “Love Calls” and wistful “This Place Ain’t What it Used to Be.”

Thursday, September 18, 2014

Long awaited new material from Buzzcocks ahead

I'm looking forward to seeing the band live in OC this Saturday and glad to find out new music is coming.

Buzzcocks' new album The Way will get its U.S. release on Nov. 18 via 1-2-3-4 GO! Records.

A follow up to 2006's Flat Pack Philosophy, it is the band's ninth studio album since their formation in Manchester in 1976. The 10 tracks, penned by the group's long standing core of Pete Shelley and Steve Diggle, were recorded this year in London and produced by the band and Dave M Allen (The Cure, Depeche Mode). 

Currently touring America, the Buzzcocks' line up of Shelley (vocals/guitars), Diggle (vocals/ guitars), Chris Remington (bass) and Danny Farrant (drums) set off on a UK Tour in October to coincide with the new release amongst their remaining U.S live dates listed below.

Remaining U.S. Live Dates:

9/18: Belly Up - Solana Beach, CA
9/19: RIOT FEST - Denver, CO
9/20 - Bang Fest @ The Observatory - Santa Ana, CA

The Way track listing:

1 - Keep On Believing
2 - People Are Strange Machines
3 - The Way
4 - In The Back
5 - Virtually Real
6 - Third Dimension
7 - Out Of The Blue
8 - Chasing Rainbows/Modern Times
9 - It's Not You
10 - Saving Yourself

Monday, September 15, 2014

Christmas music releases on the way

With Christmas only 100 days away, info on holiday albums is starting to arrive. Here are two press releases I received today...

Capitol Records Nashville’s Darius Rucker will release his first Christmas album, Home For The Holidays, on Oct. 27. The album will include holiday classics as well as two Rucker originals, “Candy Cane Christmas” and “What God Wants For Christmas.”

Also, special guest Sheryl Crow joins Darius on the holiday standard “Baby It’s Cold Outside.” Darius worked with producer Frank Rogers, who produced his three solo country albums, on Home For The Holidays.

"I am so excited to finally make a Christmas album,” shares Darius. “This has been a lifelong dream and I hope my fans enjoy listening as much as I enjoyed making it."

In addition to recording his Christmas album, Darius has been working on his fourth solo county album to be released in early 2015. The album’s debut single “Homegrown Honey” has just been released to Country radio and is climbing the charts.

Track Listing:

1. I’ll Be Home For Christmas

2. White Christmas
3. Let It Snow, Let It Snow, Let It Snow
4. Winter Wonderland
5. Please Come Home For Christmas
6. What God Wants For Christmas - written by Darius Rucker, Frank Rogers and Monty Criswell
7. Baby, It’s Cold Outside (featuring Sheryl Crow)
8. O Come, All Ye Faithful
9. You’re A Mean One, Mr. Grinch
10. Hark! The Herald Angels Sing
11. Have Yourself A Merry Little Christmas
12. Candy Cane Christmas - written by Darius Rucker, Frank Rogers and Steve Leslie
Note: Sequence is not final. 

An Americana Christmas, out on CD, vinyl and digital Oct. 14 on New West Records, brings together some of the biggest icons and current stars in Americana music for a wide-ranging collection of classic Christmas songs and brand new holiday recordings.

The album features legendary artists Johnny Cash, Bob Dylan, Emmylou Harris, The Band, John Prine, Dwight Yoakam and Ben Keith w/ Neil & Pegi Young alongside many of the genre's current younger talents like Valerie June, Nikki Lane, Robert Ellis, Luther Dickinson and the Old 97's.

Hear New York-based, Texas-bred troubadour Robert Ellis' rendition of Willie Nelson's classic, "Pretty Paper" here:

The compilation compiles previously released material with six brand new recordings exclusive to the album. In addition to Ellis' offering, Memphis songstress Valerie June puts her rollicking spin on season staple, "Winter Wonderland," Luther Dickinson of North Mississippi Allstars injects "Hark! The Herald Angels Sing" with some southern boogie and groove, rising Nashville chanteuse Nikki Lane offers an upbeat, retro-tinged original. 

Canadian roots music star Corb Lund turns in the sweeping and weeping new tune, "Just Me And These Ponies (For Christmas This Year)" and Dutch duo The Common Linnets contributes the new song, "At Christmas Time." The lone European act, The Common Linnets are one of Europe's biggest Americana bands and have sold more than 150,000 copies of their debut release and took second place in the 2014 Eurovision Song Contest.


1 Luther Dickinson - Hark! The Herald Angels Sing
2 John Prine - Everything Is Cool *
3 Robert Ellis - Pretty Paper
4 Emmylou Harris - The First Noel
5 Johnny Cash - The Gifts They Gave
6 Corb Lund - Just Me And These Ponies (For Christmas This Year)
7 Dwight Yoakam - Run Run Rudolph *
8 Bob Dylan - Must Be Santa
9 Valerie June - Winter Wonderland
10 Ronnie Fauss - Everybody Deserves A Merry Christmas *
11 Max Gomez - Season Of My Memory
12 Ben Keith w/ Neil & Pegi Young - Les Trois Cloches
13 The Common Linnets - At Christmas Time
14 Nikki Lane - Falalaalove Ya
15 Old 97's - Here It Is Christmas Time
16 The Band - Christmas Must Be Tonight

*Not on vinyl release

Annie Lennox tackles American classics on next album

Blue Note Records will release Nostalgia, the seventh solo album from singer-songwriter Annie Lennox, this fall. 

Produced by Lennox and frequent collaborator Mike Stevens, the 12-track collection features her takes on American compositions like “Memphis In June,” “Strange Fruit,” “I Can Dream, Can’t I?” and “God Bless The Child.”

Nostalgia will arrive Sept. 30 on vinyl – the format the album was intended to be heard in – allowing listeners to experience Lennox’s interpretations of these classic songs as they would have sounded when they were first introduced in the 1930s, 1940s and 1950s. (See below for track listing.)

Packaging for Nostalgia was created by Lennox. The vinyl will be contained in a gatefold jacket that will also include a 12-page book, which has photos and lyrics.

The album will be available digitally, on CD and in a deluxe CD/DVD edition on Oct. 21. The deluxe CD/DVD package, which will be available exclusively at Amazon, will include Nostalgia plus a 36-page book with photos and detailed notes on the songs and lyrics as well as a DVD that features Annie discussing the album and a video of Lennox performing “I Put A Spell On You” live. Nostalgia will be released internationally by Island Records on Oct. 27.

Annie talks about the personal meaning she found in the songs of Nostalgia and offers fans a first listen to some of the tracks in this album trailer, which premiered today on the newly launched, an online companion to the album. The site features track-by-track song histories, beautiful photography and artwork, videos and expanded song descriptions by Lennox. New content will be added on a regular basis leading into the release of Nostalgia.

The pre-order for Nostalgia launched today on Amazon (exclusive deluxe CD/DVD), iTunes and Google Play. Annie's take on Screaming Jay Hawkins' "I Put A Spell On You" is available at all digital stores and streaming services today and fans will receive the track immediately if they pre-order the full digital album at either iTunes or Amazon.

"To have been given the opportunity to record these classic, timeless songs on such a significant label as Blue Note, representing 75 years of legendary jazz history, is truly a privilege for me," said Annie Lennox.

On Nostalgia, Annie pays tribute to some of the greatest artists of the 20th century – including Hoagy Carmichael, Duke Ellington, George Gershwin, Billie Holiday and Screamin’ Jay Hawkins – and interprets compositions that have moved her, stripping them down to their emotional and musical core and making them her own.

“I went deeper because, for me, the origin of these songs is the blues. Blues comes from something beautiful and painful – and it’s the mixture of the two things. And that’s an area that I know very well,” Lennox explains. “I thought, if I’m going to try this, I’m going to get right to the nub of the song. You commune with the song and if the melody is speaking back to you, it guides you into where you need to go with it.”

Lennox’s nuanced takes on songs such as Side One’s “Strange Fruit,” “Summertime” and “I Cover The Waterfront” remind us how these songwriters took a stand on issues like poverty, bigotry and social inequalities in the years leading up to the U.S. Civil Rights movement. On Side Two, Annie savors some of the era’s most unabashedly tender and romantic songs, including “You Belong To Me,” “September In The Rain” and “The Nearness of You.”

Nostalgia - Track Listing

1. Memphis In June
2. Georgia On My Mind
3. I Put A Spell On You
4. Summertime
5. I Cover The Waterfront
6. Strange Fruit
7. God Bless The Child
8. You Belong To Me
9. September In The Rain
10. I Can Dream, Can’t I?
11. The Nearness Of You
12. Mood Indigo

Erasure news

“It’s all about hope, forgiveness, being given a new chance and the world being your oyster” - singer Andy Bell

Watch the video for Erasure’s new single, "Elevation," out this week, on VEVO. This is the first single from Erasure’s forthcoming album, The Violet Flame, released Sept. 23. Produced by Richard X, you can listen to a pre-release stream now from USA TODAY.

The single, featuring BT’s transcendent reworking of this uplifting rush of a track will be available for sale along with re-workings from Cutmore, Club Clique and more. Listen and share BT’s remix here.

Erasure’s worldwide tour is already underway, and the band have partnered up with Live Nation and Yahoo to live-stream their Sept. 27 concert, live from House of Blues Boston. This is one of 365 concerts to stream over a 12-month period on the Live Nation Channel on Yahoo Screen. 

The Violet Flame, recorded and produced by Richard X soon after the release of 2013’s Snow Globe - followed a different path to previous Erasure releases. As ever, the songwriting was entirely collaborative but this time, the warmth of Miami gave a perfect backdrop for the album writing and the starting point, unusually, was Vince Clarke’s pre-recorded dance grooves. This proved to be a more instant method of songwriting that saw the songs flow at great speed.

“I found them very inspiring and the tunes just came out”, reflects Andy. “This time it was much more off the top of the head. All that we said was that we’d like to make an uptempo dance record. And that’s how it came out.”

The Violet Flame is available now to pre-order. As well as the standard version, The Violet Flame will be available as limited 2CD edition, which features Erasure’s live performance at Mute’s Short Circuit festival in 2011. In addition, there will be exclusive versions which include the 3CD deluxe box set as well as a VIP ticket bundle, featuring the album, premium ticket and opportunities to meet the band and more.

The Violet Flame Tour is underway now, with shows through the US including Las Vegas on Halloween and New York City on New Year’s Eve (full details below). Tickets are on sale now, full details from:
Dead Of Night
Be The One
Under The Wave
Smoke and Mirrors
Stayed A Little Late Tonight

Elevation (Single Version)
Elevation (Extended Mix)
Elevation (BT Remix)
Elevation (Cutmore Remix)
Elevation (BT Dub Remix)
Elevation (Cutmore Dub Remix)
Elevation (Extended Instrumental)
Elevation (Live Rehearsal Version)

17 Sep - Atlanta, GA, Symphony Hall, USA - w/ NINA
19 Sep - Washington, DC, 9:30 Club, USA - w/ NINA – SOLD OUT
20 Sep – Washington, DC, 9:30 Club - w/ NINA – SOLD OUT
21 Sep - Reading, PA, Santander Performing Arts Center, USA – w/ All Hail The Silence
26 Sep - Atlantic City, NJ, Borgata - The Music Box, USA w/ All Hail The Silence – SOLD OUT
27 Sep - Boston, MA, House of Blues, USA - w/ All Hail The Silence
28 Sep - Homestead, PA, Carnegie Music Hall of Homestead, USA w/ All Hail The Silence
30 Sep - Toronto, ON, Danforth Music Hall, CANADA - w/ All Hail The Silence – SOLD OUT
1 Oct - Royal Oak, MI (Detroit), Royal Oak Music Theatre, USA - w/ All Hail The Silence
3 Oct - Chicago, IL, Chicago Theatre, USA - w/ All Hail The Silence
4 Oct - Chicago, IL, Chicago Theatre, USA - w/ All Hail The Silence
5 Oct - Milwaukee, WI, Pabst Theatre, USA - w/ All Hail The Silence
8 Oct - Nashville, TN, War Memorial Auditorium, USA - w/ All Hail The Silence
10 Oct - Houston, TX, Bayou Music Center, USA – w/ Dangerous Muse
11 Oct - Houston, TX, Bayou Music Center, USA - w/ Dangerous Muse
12 Oct - San Antonio, TX, Tobin Center for the Perf. Arts, USA - w/ Dangerous Muse – SOLD OUT
14 Oct - Dallas, TX. House of Blues, USA - w/ Dangerous Muse
15 Oct - Dallas, TX, House of Blues, USA - w/ Dangerous Muse
17 Oct - New Orleans, LA, House of Blues, USA – w/ Superhumanoids
18 Oct - Austin, TX, ACL Live, USA - w/ Superhumanoids – SOLD OUT
19 Oct - Austin, TX, ACL Live, USA - w/ Superhumanoids
21 Oct - Phoenix, AZ, Comerica Theatre, USA - w/ Superhumanoids
22 Oct - San Diego, CA, Humphrey's, USA - w/ Superhumanoids
24 Oct - Los Angeles, CA, Hollywood Palladium, USA - w/ Superhumanoids & Richard Blade
25 Oct - Los Angeles, CA, Hollywood Palladium, USA - w/ Superhumanoids & Paul V.
26 Oct - Ventura, CA, Ventura Theatre, USA - w/ Superhumanoids
28 Oct - Denver, CO, Ogden Theatre, USA - w/ Superhumanoids
29 Oct - Salt Lake City, UT Capitol Theatre, USA - w/ Superhumanoids
31 Oct - Las Vegas, NV, Palms Casino Resort, USA - w/ Brian Evans
1 Nov - Oakland, CA, The Fox, USA - w/ Superhumanoids – SOLD OUT
8 Nov – Belfast, Ulster Hall, UK – w/ Chad Valley
9 Nov – Dublin, Olympia, IRELAND - w/ Chad Valley
12 Nov – Reading, Hexagon, UK - w/ Chad Valley
13 Nov – Southampton, Guildhall, UK - w/ Chad Valley
14 Nov – Reading, Hexagon, UK - w/ Chad Valley
15 Nov – Nottingham, Royal Concert Hall, UK - w/ Chad Valley
16 Nov – Guildford, G Live, UK - w/ Chad Valley
17 Nov – Bristol, Colston Hall, UK – w/ Nights
19 Nov – Aberdeen, Music Hall, UK - w/ Nights
20 Nov – Edinburgh, Corn Exchange, UK - w/ Nights
21 Nov – Glasgow, O2 Academy, UK - w/ Nights
23 Nov – Brighton, Dome, UK - w/ Nights
24 Nov – Cardiff, St. David's Hall, UK - w/ Nights
25 Nov – Preston, Guildhall, UK - w/ Nights
28 Nov- Newcastle, O2 Academy, UK - w/ Nights
29 Nov – Wolverhampton, Civic, UK – w/ Shelter
30 Nov – Manchester, Apollo, UK - w/ Shelter
4 Dec – Cologne, Palladium, GERMANY - w/ Shelter
5 Dec- Dresden, Schlachthof, GERMANY - w/ Shelter
7 Dec – Hamburg, CCH1, GERMANY - w/ Shelter
9 Dec – Berlin, Columbiahalle, GERMANY - w/ Shelter
10 Dec – Aarhus, Musikhus, DENMARK - w/ Shelter
11 Dec – Copenhagen, TAP 1, DENMARK - w/ Shelter
14 Dec – London, Forum, UK
15 Dec – London, Forum, UK
30 Dec - New York, NY Terminal 5, USA
31 Dec - New York, NY Terminal 5, USA

Rare doc from The Doors comes to light

On Nov. 11, a never-before-released documentary film on The Doors, produced by the band, will arrive in stores. Feast of Friends was originally shelved due to lead singer Jim Morrison’s legal issues.

Eagle Rock Entertainment and Doors Property, LLC have remastered the audio and video and compiled bonus footage as well as an historic British documentary called The Doors Are Open.

In April of 1968, filming began for what would become the first and only film produced about The Doors, by The Doors. Funded by the band and helmed by friend and fellow film graduate Paul Ferrara, the footage shot for this film would become the well from which the majority of future documentaries and music videos about the band would draw. This film became Feast of Friends, as Paul Ferrara thought it was a great lyric to use for the title. Other than a few appearances in film festivals the following year, an official release would never be seen. Until now.

If not for a poor quality bootleg copy circulated among collectors and eventually via the Internet, the film’s existence would have scarcely been known beyond the circle of diehard Doors fans. By many accounts, the original source of that bootleg is thought to have been Morrison’s own copy, which he hand carried when he moved to Paris in 1971 after recording what would be The Doors’ final album. Concealed in a paper bag and forgotten at a friend’s house, Morrison would never reclaim it, as he passed suddenly a few days later.

Feast of Friends offers a cinematic look at The Doors on the road during their summer ’68 tour. Whilst never truly completed, as the production funding was abruptly cut due to the band’s political problems stemming from Jim’s arrest in Miami, the film provides a stylistic approach in true 60’s cinéma vérité style. The film is comprised of concert performances which are intercut with fly-on-the-wall footage of the group in their natural habitat.

Other than a few appearances in film festivals in 1968, this is the first official release. Completely restored from the original negative, as supervised by Jim Morrison, the film has been color-corrected and mastered in high definition with the soundtrack totally remixed and remastered by long-time Doors co-producer/engineer Bruce Botnick.

As well as the full version of Feast of Friends, this release contains three bonus features:

The first is Feast of Friends: Encore. A newly produced feature using footage shot for Feast of Friends, Encore is a complimentary piece that provides a deeper look into the life of the band during this period as they tour, record, travel and even vacation together. The program avoids the typical selection of hits and makes use of The Doors’ rare recordings to accompany this unreleased footage. Encore showcases the band’s recording process as The Doors record one of their biggest hits, “Wild Child.”

Viewers will follow the band as they break from touring to sightsee, play poker in their hotel room and witness an unedited interaction with Jim and the “Minister at Large” who attempts to determine “just what the hell it is (they’re) doing.”

Fans will also see a newly unearthed solo backstage performance by a singing Robby Krieger, a poem by Jim Morrison (while, in the background, you can hear Ray Manzarek’s piano work on “Love Street”), a never-before-seen altercation with legendary photographer Richard Avedon, a tranquil scene of Jim and his friends at peace in the cool waters of the Kern River, and much more.

Next is The Doors Are Open – A British TV documentary originally aired on December 17th, 1968, focused around the band’s performance at London’s Roundhouse, which took place just days after the completion of filming for Feast of Friends. Interspersed with the band’s music are intense scenes from the Vietnam War, political leaders, and riots back in the States. The Doors Are Open highlights the political relevance of The Doors’ opinionated lyrics and iconic sound while giving context to the tumultuous times in which they were living.

Although previously released, the film has suffered from numerous sound and picture quality issues. Now the image quality has been dramatically improved and the sound has been transformed by Bruce Botnick to be as true to the original live sound as possible.

Also included is The End - a feature that was filmed in Toronto, Canada in August 1967. This performance of ‘The End’ was for The O’Keefe Centre Presents: The Rock Scene – Like It Is. It was originally broadcast on October 16, 1967 in Canada, and August 1, 1970 in the US as part of a musical program called The Now Explosion.

In addition to the performance, it includes an introduction by Noel Harrison and later interviews by John Densmore, Robby Krieger, Ray Manzarek and longtime Doors collaborator Danny Sugerman. Many fans consider this recording to be one of the best Doors performances ever caught on film.